“Christianity” Articles

“The stations of the cross” is a Roman Catholic devotion in which fourteen scenes depicting Christ on his way to crucifixion are recalled and pondered: his scourging, for instance, or his encounter with Pilate. Morrissey’s poem is titled Stations of the Cross (no “the”), suggesting parallel sites where “the cross” may be found. In addition to the immediate reference to Jesus’ historical suffering one may also read an implied immediate environment of school violence and beyond that innumerable instances of scapegoats and victimization in the wider world.

The New Testament is essential reading for me. But sometimes I wonder what it is I’m reading, and that’s because I don’t know Greek. I should have made the effort to learn this language long ago. Now I’m old, and it feels too late. I re-read, study, and think about the New Testament from afar, in multiple English-language versions. Here’s a passage from David Bentley Hart’s translation of the New Testament (2017; 2nd ed., 2023), Luke 5: 1-11, where Jesus speaks to a crowd and then to the fishermen who will become his disciples.

There’s a moment in the piece titled “Security” when a number of cultures and religions—Israeli, Palestinian, Arab-American, straight-up American, Muslim, Jewish, Arab Christian and American Christian (!)—are all gathered around an impending meal, and there’s a moment of shared holiness despite the locale and the means by which we arrived at this venue.

Some readers have asked: who is the you? I hope it’s not greedy to have “you” mean multiple things! First it speaks to the reader, the “you” who’s invited into the book. In some of the poems “You” addresses the Divine. And in other poems the “you” is addressed to the friend, a character in the book. Finally, “Matters for you Alone”: not only meant for a single person, but also for someone literally by himself: a solitary reader.

Fr. Giussani does what great thinkers do: he gets to first principles. It strikes me that what has been forgotten about liturgical renewal is that it was intended to help us live worshipful lives in the world. That’s what he invites us to throughout: it’s not about liturgical reform first but a liturgical way of living.

Enter Frederick Buechner’s Telling the Truth: The Gospel as Tragedy, Comedy, and Fairy Tale, which explores the Christian gospel through the lenses of three literary genres: tragedy, comedy, and fairy tale. In essence, Buechner suggests that serious matters of the gospel are first matters of a human life well lived before they are a logical problem to be solved and systematized.

Jon Fosse’s novel Septology (published in Norwegian in 2019) is a monologue beginning and ending in the mind of Asle, an elderly widowed Norwegian painter living in the countryside on the proceeds from the sale of his paintings. He communes throughout the next 667 pages with a self who becomes both him and not him.

I miss the very close community that I believe we all felt when my family and other families in our conservative Baptist church saw one another as special and bonded. We counted on one another. Whenever the pastor turned the lights on, we were there: Sunday School, church, prayer meeting, young peoples’ meetings, vacation Bible school, mother-daughter banquets, midnight watches, potlucks, revivals, and car washes on Sunday afternoons.

I’m going to have to bow out for a little while. In the middle of life’s way I have suddenly returned to school to study environmental science and law. Whether this is wandering in a dark woods—and if it is, whether I will emerge on the right side of the woods—time will tell. I don’t think of this wandering as a complete career shift, as I still have literary work to publish.

I am always troubled by two things which are really one thing. One thing, or one part of this big thing, is religion: Why does it seem so broken now, so impossible? And the other part is the ecological crisis: How can my work as a writer, teacher, or father answer to these uncanny times?

Carolyn Forché is now a celebrated American poet. But she was far from that on the day in the late 1970s when a car pulled up outside the remote California beach house that she was renting. The driver idled the engine, then finally turned it off. At that, Forché, alone in the house and busily typing, noticed the sudden silence and became apprehensive. In her gripping memoir What You Have Heard is True, she narrates what happened next.

In her new books The Scandal of Holiness and Reading for the Love of God, Jessica Hooten Wilson writes as a lifelong Christian to other Christians. She would like more people who profess the faith to immerse themselves in reading works of imaginative literature. This duology is part of new widespread interest in Great Books curricula.

Piccinini was an Italian surgeon at Sant’Orsola hospital in Bologna, a husband, a father of four, and a passionate leader and friend of thousands of high school and university students in Italy between the 1970s and the end of the twentieth century. He died at the age of 48 in 1999 in a car accident on the highway between Milan and Bologna. At his funeral in Bologna, celebrated in the basilica of San Petronio by the then archbishop Giacomo Biffi, there were seven thousand people.

If, as is the case, the word “anthology” derives from a combination of Greek words meaning, “gathering of flowers,” then most poetry anthologies might best be described as mixed bouquets. Readers search them for a few spectacular roses and lilies amid the humbler baby’s breath and fern fronds that fill out the collection. Yet I suspect its far easier for twenty people to agree on the beauty of a particular flower than the merits of a recently written poem.

Legend, the Google definition states, is a “a traditional story sometimes popularly regarded as historical but unauthenticated.” Brendan, the 1987 historical novel by theologian Frederick Buechner, uses this term to its advantage. St. Brendan of Clonfert (c. AD 484 – c. AD 577), or Brendan the Navigator in Catholic tradition, is the novel’s subject

I always feel warmly toward Mark Fisher. I keep coming back to things he wrote in Ghosts of My Life: Writings On Depression, Hauntology, and Lost Futures. Sadly, Fisher did not always feel so warmly toward himself. Or perhaps it wasn’t himself so much as what was going on inside. He discusses depression frequently in his writings.

A couple of months ago I re-read some of the work of an anonymous fourteenth-century figure known as the Pearl Poet or the Gawain Poet. There is little poetry in the English language that affects me so profoundly as that of the Pearl Poet. His two chief works after which he is called, Sir Gawain and the Green Knight and Pearl, form the bedrock of my understanding not just of fantasy literature, but of fiction generally.

I like to memorize poems—to have them in my head to recite while I’m exercising on my indoor bike or taking a brisk walk in my neighborhood. Not surprisingly, I find that short poems with rhyming are the easiest to memorize. So sonnets are ideal. Take Mark Jarman’s epilogue to his collection Unholy Sonnets (2000).

I don’t think I memorized those opening lines of Edwin Muir’s “The Annunciation” chiefly because of their prosody. What would have caught my attention is the emphasis on the earth and embodiment. I am if anything more committed now to these themes than I was as a young graduate student who was increasingly mortified by what seemed the disembodied and even (as I would now say) the anti-incarnational mental acrobatics of contemporary intellectual culture.

How do we render onto paper not what we hear but what we cannot hear? What is the story for what we do not know? I believe we look for it in doubt, fear, and uncertainty.
I believe we experience that mystery in the questions, and not the answers, the silence and not the noise.